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Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In literary texts that present a poetic speaker whose psychic apparatus suffers; writing becomes the site for the oscillation between subjectivity and desubjectivity. This paper poses the question on how to approach texts rooted in the experience of psychic suffering in relation to the concepts of "testimony", "author" and "writing". The selected literary texts are a group of poems written by the Italian poet Alda Merini and 4.48 Psychosis, a play written by the English playwright Sarah Kane. In these texts, the poetic speaker experiences a desubjectivation produced by highly invasive psychiatric procedures. These texts account for this experience [Benjamin] and establish themselves as healthy practices [Deleuze]. By doing so, they do not function as instances of resubjectivation; instead, they retain the oscillation between resubjectivation and desubjectivation. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Circumstances make of Octavio Paz' work a very special model. His production originates in the peak of vanguards, and it goes on up to even much later than the high spirited period of these. It can be used as a representation of the conflictive dialogue that exists between dominant and emergent languages, signed by rupture and an attempt to renovate. In this context, the main objective of this paper consists in deepening the links between Paz' work and the surrealist trend, proposing a third way of relationship between both that has not been tackled by the critics sufficiently. Aspects of his critical production as well as of his poetry, specially Poemas (1935-1975), re-edited in 1981, will be analyzed to highlight the place that the memory of a poet definitely consecrated keeps to his "tangential" surrealist experience. [ABSTRACT FROM AUTHOR]

The critical work and the poetry of Edelweis Serra possess a singular sense in the Argentinean cultural context in which they are developed. In a time of apparent secular culture, their tentative is guided toward the rescue of the sacred dimension of reality. This study offers a panoramic approach to the work of Edelweis Serra. This approach focalise the main topics and the dominant stylistic features in her lyrical work. In what refers to this last point, the main interest is given to one aspect that stand out the singularity of its poetry: the presence of symbols and rhetorical figures characteristic of the biblical language. Such characteristic is related to her conception of poetry as a divine gift. The paper intends the diffusion of her important work and the recognition of the interpretive keys that favour its reading. [ABSTRACT FROM AUTHOR]

This paper concentrates on the attraction to the suburb and its most representative characters --like the "compadrito"- present in Jorge Luis Borges' works. Firstly, we analyze the presence of the "barrio" as central theme in post modernist poetry by Enrique Banchs, Evaristo Carriego and Baldomero Fernández Moreno, who incorporate the suburban world into Argentine poetry. Then, we focus on an original hypothesis which goes into the affective reasons which might have moved the polyglot, erudite and cosmopolitan writer to feel fascinated by the world of "arrabal" and Buenos Aires' tango. [ABSTRACT FROM AUTHOR]

This paper offers a version of some epigrams by Goethe and by Schiller which may be considered "rhythmic", since it keeps true to their sentence as to their form. Yet, precisely because this is a rhythmic version, a literal correspondence will not be found in all cases. The aim has been to save the "idea" and the "rhythm" of each epigram, knowing that this might mean overlooking some "words" here and there. The epigrams belong to two groups. The first, related to Goethe, is formed by twelve, published here for the first time. The second groups consists of sixteen (out of thirty) epigrams publishe before, though now renewed with the regular rhythmic figure they lacked. [ABSTRACT FROM AUTHOR]